This is about a video game, and video games, of course: are Art. But specifically, it’s about visual artefacts and existence through imagery:

I don’t think I’d ever seen a bottle of nail polish in a video game until Gone Home. I stared at it for a good five minutes when I saw it, wondering about all the open world environments I’d traversed, all the fancy worlds, all the adventure games I’d played where the elements of being a woman were strangely absent in the environment.

Secondly, back in March Sarah Horrocks (if you aren’t following her work — start following her work) talked to Alison Sampson about how coming from architecture informs her comic illustration. Now I’m going to have to think of a lot of new questions, for when I seek out Sampson. But hey, that’s great! All good news.

In our story, our hero doesn’t differentiate between what is synthetic and what isn’t — it is all part of his world. To him, it is all landscape. We try in our book to represent the art in the same way. It is all landscape. Our panels read together and separately. Tangents and visual structures link one place and another, gutters make thresholds. I guess I am stepping into our hero’s shoes.

— Claire

The rude art of the polite protest. The street art aspect of the Umbrella Revolution occurring right now in Hong Kong is equal parts sophisticated and banal, vibrant, crude, and very specific to the area and the time.

Look at these beautiful, empowering illustrations! I want a collection of them to give out to young women.